Antwerp, the Kiel district. Adamo, twenty, stylishly wanders the streets […] with his crew, Badia, Younès and Volt. Making money from the odd job here and there, the foursome has a dream: to become Tony Montana, the legendary gangster. So, when an opportunity arises to work for Orlando, the local drug dealer, they jump at the chance – even if it means getting in slightly over their heads.

Adamo and his crew dive headfirst into a career that is way beyond them, as if the port of Antwerp were the setting for a life-size video game, where you always get a second chance. The directors play on this attitude by adopting a very marked aesthetic, which is largely inspired by video games, from the presentation of the characters, to trickery with neon and stroboscope lighting, which flashes throughout the film. Life becomes a (deadly) fight […]. The soundtrack is just the same, full of big blows, whipping the audience into a frenzied excitement […]..

Gangsta is a film of excess. It goes too fast, too heavy, and too far – while simultaneously keeping control. It’s surprising that this film found a means for its ambitions. Adil El Arbi and Bilall Fallah have digested their influences, and found a story and form clever enough to deliver effective and punchy entertainment.